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Moroccan leather folio slip, rectangular in shape featuring gilt tooled decoration with multiple borders, measuring 29.0cms x 39.0cms, containing a quantity of reference materials from Derek Fridays Collection, including photographs of classical architectural paintings. lithographs, Prints and images from various sources, and 19th Century engraving prints, various condition

A Large bound scrapbook, containing hundreds of reference images which have been stuck to the 27 thick card pages, including many 19th century engravings, prints and images of portraits, figures, scenes, animals, classical scenes and figures, and architectural reference images, in poor condition, the binding is failing and many pages are coming loose, pages show significant discolouration and general grubbiness, some foxing and damage to the edges, measuring 38.0cms x 28cms overall, the outer cover shows significant wear and tear with tears and delamination of the cloth cover evident in various places

Neo-classical architectural founding/key stone with carved details, dated 1761. W42xH48cm (Victor Brox collection)

A coloured print of five ladies in Welsh costume. Together with three other prints: Children bird nesting, Ralph Osborne by the Count d'Orsay and the Prince of Wales smallest 25x20cm, largest 35 x 45cm Stepping over the threshold into Peter Hone’s London home is an unforgettable experience; a sensory over load of the most delightful sort; inside is a curated wonderland interior as enchanting and extraordinary as the man himself.Peter has lived in his Notting Hill flat since the 1960s. Its fabulous interior has graced the cover of World of Interiors more than once and its creator is adored by the cognoscenti of the interior design world. Peter is a man of many stories, and one of last year’s exciting chapters was the auction we held for him, selling the remarkable contents of his London abode: all the ancient architectural fragments, classical busts, urns, marbles and curios, and perhaps most wondrous of all, Peter’s beautiful plaster reliefs, which adorn almost every available wall. Peter’s interest in plasterwork developed during his 15 years at Clifton Nurseries in Little Venice, where he managed an architectural antiques shop for Lord Jacob Rothschild. This is where Hone ‘honed in’ on plaster, as he likes to joke.These further items from Peter are excess lots to his previous sale. We will also have further items in our next Oak & Country sale on June 13th 2024.

VICTORIAN ARCHITECTURAL BLACK SLATE CLOCK GARNITURE the clock with Roman numeral dial with a pair of urn shaped garniture vasesthe clock 42cm high

Heideloff,C. u. C.Görgel.: Architectural ornaments of the middle-ages. Des ornements du moyen age. Die Ornamentik des Mittelalters. 25 Hefte (= alles) in 1 Bd. Nbg., Stein 1838-52. 4°. Mit gest. Front. u. 200 gest. Taf. Mod. Hldr. Pollen I, 809. - "Eine Sammlung auserwählter Verzierungen und Profile byzantinischer und deutscher Architektur" (Untertitel). - Das Front. vor Heft 25 verbunden. - Stockfleckig.

English, c.1825, unsinged but attributed to Tully, London, the microscope stands in a large folding tripod base supported in the center on an architectural type column terminating in a compass type joint, with a square sectioned column with rack work along the front edge, with large mirror, substage condenser, Turrel type stage with X-Y control, limb at the top with large bodytube with single drawer tube, eyepiece, with stabilising telescopic rods to the rear, with a single early form of achromatic objective, and a single simple objective,The Attribution: this microscope has very similar aspects to the microscope built by Tully from drawings supplied by Mr. J. J. Lister. similarities between the 2 instruments are:1 - the same method of connecting the struts to the rear of the foot, 2 - The method of mounting the focus and control knobs with a central circular screw,3 - The same design to the top and bottom of the support pillar, 4 - The same mounting method at the back of the bodytube to the struts, 5 - The substage on this microscope in incomplete but has a pair of condenser lenses in combination as did Listers.Height when vertical  56cm (22"), when inclined 53cm (21") 

L’HÔTEL DES INVALIDES C. 1700 Large folio containing twenty-three plates (some double-page), 63 x 51cmProvenance: Carton House Library, Carton House Library label with family crest on inside coverOn the 10th of October 1925, an advertisement in the Irish Times gave notice of an upcoming sale at Bennett & Son Auctioneers and Valuers, 6 Upper Ormond Quay, Dublin.‘A highly important and valuable collection of works of art moved from Carton Co. Kildare…including – 8,000 ounces of silver plate…a gallery of paintings of considerable merit…coloured prints, old French and English furniture …; also the Library of scarce and interesting books. The whole forming the most important collection ever offered for Sale by Auction in this country.’The sale took place on the 11th of November 1925 and included in the sale was this folio of etchings depicting plans, sections, and perspectives of the Hotel Royal des Invalides in Paris.Found on the inside cover of this folio is the heraldic bookplate of the Carton Library, inscribed elaborately and with two monkeys, a lion and the duke or earls’ cornet, along with the FitzGerald motto ‘Crom a boo’, an exclamation of defiance ‘To Victory’. It once belonged in the elegant book and painting lined library room in Carton House.For seven hundred years Carton House was the home of the Earls of Kildare and the Dukes of Leinster. The estate was lost by the FitzGerald’s when the third son of the sixth Duke sold his birthright to Lord Brockett to pay off an immense gambling debt, hence the sale of the Carton Library contents.In the 17th century, Louis XIV was the head of Europe’s greatest army. Aware that soldiers were the primary guardians of France’s greatness, the Sun King decided to erect a building for those who had served the royal army. The architect Liberal Bruant and later Jules Hardouin-Mansart were commissioned to create the Hotel Royal des Invalides. Today the impressive buildings contain the Musée de l’Armée, the tomb of Napoleon Bonaparte and the Église Saint-Louis-des-Invalides with its golden dome.Contained in the folio are engravings by Jean Le Pautre (1618-1682), Pierre Le Pautre (1652-1716), Gérard Scotin (1643 - 1715), Daniel Marot the Elder (1661 – 1752) and Jean Marot (1619-1679). Arguably this group of engravers were among the most significant figures in seventeenth-century France, particularly renowned for their production of architectural views of the Hotel Royal des Invalides.

ROBERT CARVER (C. 1730-91) A Capriccio Landscape based on Dunmoe Castle, County Meath Oil on canvas, 62 x 102cmDunmoe Castle, County Meath, started by Hugh de Lacy, captured by the Irish in 1641, attacked by Cromwell and restored under James II, was a site much visited by artists and antiquarians in the eighteenth century. Its proximity to Slane Castle, home of William Burton Conyngham (1733-1796), the collector and improver, no doubt encouraged its depiction and when a view of the castle by Thomas Roberts (1748-1777) was engraved for Francis Grose’s Antiquities it was described as ‘taken from an original in the collection of the Right Hon. William Conyngham’. As Peter Harbison has so ably demonstrated, Burton Conyngham was a collector and patron of rare judgment for eighteenth century Ireland who, almost single-handed, encouraged artists to consider the native ruins of Ireland as a subject for their landscapes which were compositionally often inspired by Claudean prototypes. His support of of young artists is most apparent in his collecting of drawings for various antiquarian enterprises. He provided financial and other support to a group of draughtsmen most notably Austin Cooper and Gabriel Beranger, as well as Angelo Maria Bigari and John James Barralet. In 1779, for example, Beranger and Bigari conducted a tour of Connacht at Burton’s behest, which has been characterised as ‘the most extensive archaeological survey undertaken in Ireland before the Ordnance Survey’. Burton’s patronage resulted in his ownership of what was described in 1787 as ‘the finest collection [of antiquarian drawings] made by excellent artists anywhere to be found’. Two views of Slane Abbey, copied by Beranger after originals by Jonathan Fisher (1735-1809) may have been a Conyngham commission, with Harbison suggesting that Fisher probably drew them while staying at Slane Castle. Roberts drawing of Dunmoe was engraved by Sparrow and also copied by Gabriel Bernager who inscribed his version with the proviso: ‘Compared on the spot 1779 and I found it exact except the colour which is blueish and not brown’.While Robert Carver was not one of Conyngham’s ‘young artists’, he was closely connected with several of The Dublin Group who were, notably Roberts – they both seem to have taught James Coy (c.1750-80) and were both intimate associates of George Mullins (fl. c.1756-c.1786). Roberts later re-used his sketch of Dunmoe Castle in an imaginary landscape (private collection) in just the same way that Carver does here, ‘illustrating how the antiquarianism of Burton’s circle was creatively adapted by the artists he patronised and how the reuse of elements of Ireland’s antiquities give…a distinctively Irish flavor to Roberts art.’ Exactly the same can be said in relation to Carver’s capriccio landscape sold here, where Dunmoe’s setting above the River Boyne is augmented with a typically Irish tower house on one bank of the river and a substantial red-brick structure and small church, on either side of a bridge, on the other. Carver, like other artists, responded to the setting with the castle ‘magnificently sited high above a bend in the Boyne’ (Casey and Rowan, The Buildings of Ireland, North Leinster, 225).Together with George Barret, Robert Carver was the leading landscape artist in Dublin in the 1750s and ’60s. He followed Barret to London in 1769 where he found fame, for his much-admired designs for the theatre, and status, as the President of Society of Artists. Although of an older generation, he was also closely connected with the talented coterie of artists who came to prominence in the 1760s and ‘70s and who, with Carver, can be seen as a closely interlocked ‘Dublin Group’ of landscape painters. No doubt his ‘generous and companionable qualities’ made him a mentor to younger painters. Carver’s easel paintings are rare and mostly date from his period in Ireland – the present work seems to be unique in including Irish architectural, or antiquarian remains. However, as more of them are identified his ability becomes apparent and the reasons become obvious for the contemporary praise which was showered on his productions. Here, the red dress of the reclining woman in the foreground provides an effective chromatic highlight at the centre of the composition, while the busy few inches of the paint surface including the figures and animals contrasts with the unbroken sheen of the river with long reflections cast by the late afternoon sun adding a slightly elegiac touch to the romantic, umbrageous Boyne landscape. Picturesque travellers in the foreground add a bucolic touch. The picture is painted in Carver’s early and tighter style, before his touch became free, and occasionally loose, from his experience of scene painting. An almost exact parallel can be found in the precise, almost schematic, rendering of light effects on the different facades on the brick building and on a mill in a River Landscape with Figures (Gorry Gallery, Exhibition, 19 May 2010).We are grateful to William Laffan for his assistance in cataloguing this lot.

TWO ITALIAN 'GRAND TOUR' SIENA MARBLE CARVED MODELS OF THE RUINS OF THE TEMPLE OF CASTOR AND POLLUX AND THE TEMPLE OF VESPASIAN, 19TH CENTURY with typical Roman temple architectural detailing. 43.4cm high and 44.4cm highThe creation of architectural models has been a longstanding tradition. Originating in the Near East around the fifth century B.C., this tradition resurfaced in Europe approximately a millennium later. Replicas tailored for tourists, essentially serving as souvenirs, emerged in the late seventeenth century. Following the excavation of numerous Christian sites in Jerusalem,  Franciscan friars began crafting models of the city’s Church of the Holy Sepulchre in olivewood, ebony, ivory, and mother-of-pearl. They were extremely sought after by affluent pilgrims seeking mementos of their visits to the Holy Land. At very nearly the same time, in 1670, Richard Lassels published his The Voyage of Italy, the first tourists’ guide to that destination, and the first to describe the journey as a “Grand Tour”. By the middle of the eighteenth century, among the variety of works available to Grand Tourists in Italy – including marble and bronze antiquities, Renaissance sculpture, paintings, and furnishings – were a variety of architectural models fashioned from cork. The cork replicas were of Italy’s, ancient, ruined, Classical monuments. Architect Auguste Rosa, who lived in Rome from 1738-1784, is given credit for inventing the souvenir cork architectural model. However, it was another Roman architect, Antonio Chichi (1743 – 1816), who understood the medium’s commercial potential. His 1786 catalogue lists 36 different models for sale – the Colosseum, Pantheon, a variety of temples, triumphal arches, theaters, and tombs.Giallo antico marble models of ruins by Benedetto Boschetti (1820-1879), similar to the lot on offer, were exhibited in the ‘View of the Roman Court’ at the 1862 International Exhibition in London. These models exemplify the high-quality souvenirs sought after by tourists during their “Grand Tour” of Italy.

GERMAN ARCHITECTURAL BRACKET CLOCK, large carved steeple form bracket clock in the black forest style, the cuckoo style opening to reveal a monk, with losses, 94cm height Lot 474: Case with some minor losses, finials both damaged & one with taped repair. Numerals rubbed, no sign of worm damage. Clock appears to work for a short while then stops, striking mechanism does not seem to wok properly, & monk reluctant to appear. See photos 

Clocks - late 19th century and later mantel clocks, German, architectural, etc (8)

Architectural Salvage - eleven curved brass door handles

Clocks - early to mid 20th century, architectural cases, mostly oak (11)

Clocks - various, American gingerbread, architectural, etc (qty)

An early 20th century onyx architectural mantel clock, Roman numerals on circular dial, flanked on either side with three Corinthian columns, plinth base, 30.5cm high; a 19th century French white onyx mantel clock, the circular white onyx dial inscribed with Roman numerals, A. Daubree a Nancy, 21cm high (2)

Clocks - early to mid 20th century mantel clocks, others, architectural, etc (13)

An architectural watercolour "Design for an Organ" - Royal College of Arts South Kensington 1914, 38" x 49" and two other unframed architectural watercolours depicting interior scenes (3)

AFTER CHAMBERS; a pair of architectural reproduction prints, together with two coloured etchings, 'Speke Hall' and 'The Royal Amphitheatre Liverpool', and two colour reproduction prints after Sandman of fish, all framed and glazed (6).Condition Report: From the estate of actor Dean Sullivan, most known for playing Jimmy Corkhill in the TV series Brookside.

Large 19th century gilt framed over painted over-mantel mirror, of architectural design with bevelled plate. 132x160cm approx. (B.P. 21% + VAT)  Good condition - has been gold painted.  Beveled plate, pediment is loose.  No obvious damage/losses.

After Giuseppe Bibiena, 'Architetture E Prospettive', a folio of monochrome prints after the original engravings, depicting great Italian architectural monuments. (B.P. 21% + VAT)

Box of assorted furnishing prints and other pictures, various,Group of assorted prints and paintings to include: two portraits signed Robin, limited edition coloured print after Mike Bernstein and others. Framed, and After Alice Korcziha, Italianate architectural study, signed. Coloured print. 47x31cm approx. Framed and glazed. (8) (B.P. 21% + VAT)

A late 19th century architectural mantel clock.Note:- Pendulum present.

A late 19th century architectural mantel clock.Note:- Pendulum present.

A oak architectural bracket clock with pendulum and key

A late 19thC continental stained pine cuckoo clock, the dial bearing Roman numerals, with a carved architectural case, with foliate scrolls, with pendulum and two weights, bears retailers label verso, 53.5cm high.

A Victorian slate and onyx mantel clock, circular brass dial with chapter ring bearing Arabic numerals, thirty day movement, the case of architectural form, with key, 31cm high.

A late 19thC American walnut cased mantel clock, tin dial bearing Roman numerals, eight day movement with coil strike, the case of architectural form, with a double glass panelled door, the lower panel decorated with an alpine scene, raised on a plinth base, with pendulum and key, 37.5cm high.

An early 20thC oak cased mantel clock, circular enamel dial bearing Roman numerals, eight day movement with coil strike, the case of architectural form, with spiral twist columns, raised on a plinth base, with pendulum, no key, 28cm high.

A Victorian slate and marble mantel clock, circular brass dial with enamel chapter ring bearing Arabic numerals, eight day movement with coil strike, the case of architectural form with brass presentation plaque "Present to Dr TH Goodman, from Ambulance Class, 1898", with key, 33.5cm high.

A late 19thC slate mantel clock, circular brass dial with enamel chapter ring bearing Arabic numerals, eight day movement with coil strike, the case of architectural form, with pendulum and key, 43cm high, 35cm wide.

A late 19thC marble cased mantel clock, circular brass dial with enamel chapter ring bearing Arabic numerals, eight day movement with coil strike, the case of architectural form, with Corinthian demi-pilasters, 24cm high, 25.5cm wide.

RARE SCOTTISH ARTS & CRAFTS SILVER COFFEE SERVICE each element cylindrical, tapered and with naturalistic handles, the coffee-pot having hinged-lid, raised natural turquoise knop and protective leather binding to handle, each with clear conforming hallmarks for lesser known silversmith McDonald and Creswick Ltd, Edinburgh 1926, 49.9ozs gross (3)Auctioneer's Note: McDonald Creswick were better known as an architectural bronze and metalworking foundry, silver items from the workshop are rare to the market but those silver items that were produced were done so in the Arts & Crafts style and tradition. The company began as a partnership between William McDonald (1887-1932) and the sculptor, Charles d’Orville Pilkington Jackson (1887-1973), in 1911 or 1912. Jackson enlisted at the outset of the First World War and McDonald followed in 1916 but by then he had brought Charles Creswick (1883-1965), a silversmith from Birmingham, into the business. Following the war, the foundry was incorporated as M’Donald and Creswick Limited in April 1920, with McDonald, Creswick and McDonald’s father, John William McDonald, a brewer’s manager in Glasgow, as directors.Provenance: private collection Gwynedd, by descent from the McDonald of McDonald Creswick family

LIBERTY & CO. TUDRIC PEWTER & ENAMEL MANTEL CLOCK, c. 1905, model no. 0629, designed by Archibald Knox, architectural form set with Art Nouveau foliate enamel panel in red blue and turquoise, the copper dial with Roman numerals and green and blue enamel centre, stamped marks, Lenzkirch stamped movement, 19cms (h).Provenance: deceased estate north Wales.Auctioneer's notes: Cf. Stephen A Martin, Archibald Knox, ARTMEDIA, p. 233 and Victor Arwas, 'Liberty Style', Parco, Japanese exhibition catalogue, page 104 p.39, for illustrations of this design.Comments: case naturally tarnished matt, enamels all good.

A collection of books on Country Houses & Interiors: British & Irish Bristow, Ian C.: Architectural Colour in British Interiors 1615-1840 Roberts, Hugh: For The King's Pleasure: The Furnishing and Decoration of George IV's Apartments at Windsor Castle Worsley, Giles: England's Lost Houses: From the Archives of Country Life Cornforth, John: The Inspiration of the Past, Country House Taste in the Twentieth Century Cornforth, John: London Interiors, from the Archives of Country Life Cornforth, John: English Interiors 1790-1848, The Quest for Comfort Fowler, John & Cornforth: English Decoration in the 18th Century Wood, Martin: John Fowler, Prince of Decorators Jones, Chester: Colefax & Fowler, The Best in English Interior Decoration Ypma, Herbert: Irish Georgian Cooper, Nicholas: The Jacobean Country House, from the Archives of Country Life Wainwright, Clive: The Romantic Interior, The British Collector at Home 1750-1850 Gow, Ian: Scottish Houses and Gardens, from the Archives of Country Life Pfeiffer, Walter & Heron, Marianne: l'Art de Vivre, En Irlande Service, Alastair: Edwardian Interiors, Inside the Homes of the Poor, the Average and the Wealthy Jourdain, M.: English Interiors in Smaller Houses, from the Restoration to the Regency, 1660-1830 Todd, Pamela: William Morris and the Arts and Crafts Home MacDonnell, Randal: The Lost Houses of Ireland, A Chronicle of great houses and the families who lived there O'Brien, Jacqueline & Guinness, Desmond: Dublin, A Grand Tour James, C. H. & Yerbury, F. R.: Moderne Englische Hauser und Innenraume Phillips, R.: Englische Raumkunst von Heute Yerbury, F. R.: Englische Klein Hauser (English Small Houses) Pfeiffer, Walter & Heron, Marianne: In The Houses of Ireland McBride, Simon & Howes, Karen: Private Ireland von Einsiedel, Andreas & Mackemzie, Nadia: Historic Interiors, A Photographic Tour, The National Trust Maroon, Fred J.: The English Country House, A Celebration Campbell, Peter: A House in Town. 22 Arlington Street, Its Owners and Builders Pearce, David: London's Mansions: The Palatial Houses of the Nobility Snodin, Michael & Styles, John: Design & the Decorative Arts: Britain 1500-1900 (V&A Publication) Watkin, David: The Royal Interiors of Regency England - From watercolours first published by W.H. Pyne in 1817-1820 Girouard, Mark: The Victorian Country House Lees-Milne, Alvilde & Moore, Derry: The Englishman's Room Jackson-Stops, Gervase,: National Trust Studies 1979 Beard, Geoffrey: Craftsmen and Interior Decoration in England 1660-1820 Jackson-Stops & Pipkin, James: The English Country House, A Grand Tour Gibbs, Jenny: The Country House: Classic Style for an Elegant Home Guild, Robin: The Victorian House Book Hall, Michael: The English Country House from the Archives of Country Life 1897-1939 Forman, Sheila: Scottish Country Houses & Castles Aslet, Clive & Moore, Derry: Inside The House of Lords Edwards, Jane: London Interiors Miller, Judith & Martin: Victorian Style Seebohm, Caroline & Sykes, Christopher Simon: The English Country, Living in Englands Private Houses Moore, Derry & Pick, Michael: The English Room Astaire, Lesley: Living in London Astaire, Lesley: London Living Style Banham, Joanna, et al: Victorian Interior Design Spencer-Churchill, Henrietta: Classic English Interiors Dutton, Ralph: The English Interior, 1500 to 1900  Together with: A collection of books on Country Houses & Interiors: European & Russian Ballot, Marie-Juliette: Le Décor Interieur au XVIIIe Siecle a Paris et dans l'Ile de France Les Habitations Modernes et Leur Decoration, Cent planches en couleurs (100 plates) Ottillinger, Eva B. & Lieselotte Hanzl: Kaiserliche Interieurs, Die Wohnkultur des Wiener Hofes im 19. Jahrhundert und die Wiener Kunstgewerbereform - Band III Garzya, Chiara: Interni Neoclassici a Napoli Parissien, Steven: Neo-Classique: Le Style Adam Thornton, Peter: Seventeenth-Century Interior Decoration in England, France, and Holland Schmitz, Hermann: Vor hundert Jahren, Festraume und Wohnzimmer des Deutschen Klassizismus und Biedermeier Baer, C. H.: Deutsche Wohn- und Festraume aus 6 Jahrhunderten Schmitz, Hermann: Wohnzimmer und Festraume Berliner Baumeister vom Ausgang des 18. Jahrhunderts Beissel von Gymnich, Countess Jeanette: Luxury Houses, Schlosser - Castles - Chateaux Hunyady, Etienne: Luxury Houses, Toscana Gregory, Alexis: The Great Family Houses of Europe Sangl, Sigrid: Biedermeier to Bauhaus Sjoberr, Lars & Ursula: Det Svenska Rummet Slesin, Suzanne, et al: Spanish Style Brosio, Valentino: Ambienti Italiani dell'Ottocento Friedman, Joe: INSIDE PARIS, Discovering the Period Interiors of Paris Sauveur, Daphne De Saint: The French Touch: Decoration and Design In the Most Beautiful Homes of France Boyer, Marie-France: Paris Style, The Private Apartments of Paris Lovatt-Smith, Lisa: Paris Interiors Interieurs parisiens Fregnac, Claude & Andrews, Wayne: The Great Houses of Paris Bourgeois, Helene: Les Grandes Heures du Style Francais Gaynor, Elizabeth/Haavisto, Kari/Goldstein, Darra: Russian Houses. (72)

A Gottschalk wooden blue roof dolls’ house, with brick paper facade and light blue with dark blue lining painted architectural features, central pillared front door with balcony and door above, one either side a bay window on ground floor and windows on first floor, front opening to reveal two rooms with mainly original papers —25 ½in. (65cm.) high x 17in. (43cm.) wide x 12 ¼in. (31cm.) deep (missing central dormer window and arched pediment from 1st floor window, 1st floor replaced wallpaper and general wear and other slight damage)

A 1930s part fretwork dolls’ house, possibly Hobbies Ltd with unusual pull-out garden, plywood with brick and tiled paper, columned balcony across the whole front of house, central front door, fretwork architectural detail, widow’s walk on roof and pullout garden with central front steps, tennis court, summer house and garage, front opening to reveal four rooms, hall and stairs with bathroom above, original papers and some internal features, named Sandown over door —32 ¼in. (82cm.) wide x 36 ½in. (93cm.) high x 17in. (43cm.) depth without garden (some damaged, widow walk repainted)

Pre-Raphaelite School (19th century)A substantial architectural triptych, Presentation of Christ to the Temple, inscribed To the glory of God and in loving memory of James Henry Fish, first Vicar of this Parish, Fell asleep April 5th 1887,oil on slate panel, 165.5cm x 321.5cm overallNB this lot remains in situ. It is the responsibility of the buyer to make arrangement for removal. For further information please contact the auctioneer’s office.

A Post-Regency Gothic Revival mahogany library table, canted rectangular top with moulded edge above a pair of frieze drawers, Bramah locks, architectural tracery brackets, turned stretcher carved with lotus, sledge base, brass casters, 71.5cm high, 122cm wide, 63cm deep, c.1835

A 19th century Grand Tour watercolour architectural study, signed E Sanderson and inscribed Spandril (sic) in Library, Sienna Cathedral, maple frame, 34cm x 29cm overall

An 18th century Continental cherry vestment chest, hinged top enclosing a pair of compartments, drawer to base, the two panel front and sides applied with architectural pilasters, stile feet, 91cm high, 76cm wide, 46cm deep, c.1750

A 19th century walnut Vienna regulator wall clock, 16cm enamel dial inscribed with Roman numerals, single winding hole, architectural case, 103cm high, c.1890

A George III mahogany wall hanging splay front corner cabinet, moulded cornice above a panel door enclosing two shaped shelves, the back decoupaged with Classical architectural motifs, 77cm high, 68cm wide, 37.5cm deep, c.1800

A late 19th century French porcelain mounted gilt brass architectural mantel clock, the 9cm circular dial inscribed with Arabic numerals, twin winding holes, Achille Brocot movement striking on a gong, the case with flaming torch finials and Corinthian columns, the dial, panels and columns in porcelain decorated in blue and white with Bacchus masks and foliate scrolls, 39.5cm high, c.1880

A Black Forest mantel cuckoo clock, 14cm dial applied with Roman numerals, twin winding holes, the architectural case in the Gothic Revival taste, 51cm high, c.1890

A late 19th century gilt metal mounted onyx tower-form architectural library clock, 8.5cm enamel dial inscribed with Arabic numerals, twin winding holes, eight-day movement, 56cm high, c.1890

A 19th century walnut and ebonised Vienna regulator wall clock, 16cm enamel dial inscribed with Roman numerals, seconds subsidiary, twin winding holes, brass weights, eight-day movement striking on a gong, architectural case, 115cm high, c.1870

A 19th century American mantel clock, by The Ansonia Clock Company, 12cm enamel dial inscribed with Roman numerals, twin winding holes, the movement striking on a gong, architectural ‘gingerbread’ case, 48.5cm high, c.1880; another (2)

A 19th century oak and pollard oak architectural mantel clock, 13cm silvered dial inscribed with Roman numerals, twin winding holes, eight day movement striking on a gong, 36cm high, 42cm wide, c.1880

A late 19th century American mahogany architectural mantel clock, Eight Day Sussex Strike, by The Ansonia Clock Company, 11.5cm circular dial inscribed with Arabic numerals, twin winding holes, eight day movement striking on a gong, the case with ropetwist pediment, 44.5cm high, 31.5cm wide, 13cm deep, c.1890

A late 19th century French Côte-d'Or walnut wall timepiece, 18.5cm circular clock dial applied with Roman numerals and a plaque inscribed CH. BOULICAULT, Nolay, the architectural case with balustrade pediment, 55cm high, 42cm wide, c.1895

A late 19th century Gothic Revival alabaster architectural pocket watch stand, 37cm high, 16.5cm wide, 11.5cm deep, the aperture 4.5cm diameter, c.1890

A late 19th century scumbled and ebonised combination mantel timepiece and aneroid barometer, 8cm clock dial inscribed with Roman numerals, the architectural case with arched pediment, faux green marble borders, bun feet, 32cm wide, c.1880

A late 19th century walnut and parquetry architectural wall clock, 20cm circular dial inscribed with Roman numerals, twin winding holes, eight day movement striking on a bell, 114cm high, 36.5cm wide, 16cm deep, c.1895

A late 19th century walnut architectural Harmonia Vienna type wall clock, 13cm circular dial inscribed with Roman numerals, twin winding holes, eight day movement striking on a gong, the pointed-arch case carved and applied with oak leaves and acorns, 102.5cm high, 41.5cm wide, c.1895

A late Victorian mahogany barometer, 19cm register inscribed Short & Mason, 40. Hatton Garden, LONDON., mercury-in-glass thermometer, architectural case, 104.5cm high, 34cm wide, c.1890

A late Victorian oak architectural wheel barometer, 15.5cm circular silvered register inscribed T. ARMSTRONG & BRO 88 & 90, DEANSGATE MANCHESTER, the Ionic columns centred by a thermometer, 75cm high, 26cm wide, c.1890

A Louis XVI Revival gilt bronze mantel clock, 8cm circular enamel dial inscribed with Roman numerals, twin winding holes, eight day movement, the architectural case cast with scrolling leaves and bell husks, the case and backplate numbered 364, 22.5cm high, 14.5cm wide, 11cm deep, c.1900

A mid-20th century brass perpetual mantel time piece, 12cm clock dial with silvered chapter ring inscribed with Arabic numerals, key-wound '300-day' movement with torsion pendulum, architectural case, the finials picked out in red, glass dome, 42cm high overall

A Victorian Gothic Revival cast bronzed metal double-fusee bracket clock, 12.5cm circular silvered dial inscribed Jno Bull, Bedford, Roman numerals, single winding hole, the architectural case with crenellated pediment, 40cm high, 27.5cm wide, 17.5cm deep, c.1880